Boxing MasteryAdvanced Technique, Tactics and Strategiesfrom the Sweet Science

Mark Hatmakerwith Doug Werner

Tracks PublishingSan Diego, California

Photography by Doug Werner

TRACKSPUBLISHING

Boxing MasteryAdvanced Technique, Tactics and Strategies from the Sweet Science

Mark Hatmaker with Doug Werner

Tracks Publishing140 Brightwood AvenueChula Vista, CA 91910619-476-7125tracks@cox.netwww.startupsports.com

All r ights reser ved. No par t of this book ma y be reproduced ortransmitted in any form or by any means, electronic or mechan -ical, including photocop ying, recording or b y an y inf ormationstorage and retrieval system without permission from the author,except for the inclusion of br ief quotations in a review.

Copyright © 2004 by Doug Werner

10 9 8 7 6 5 4 3 2 1

Hatmaker, Mark.Boxing mastery : advanced technique, tactics and

strategies from the sweet science / Mark Hatmaker withDoug Werner.

p. cm.Includes index.ISBN 1884654215LCCN 2004111980

1. Boxing--Training. I. Werner, Doug, 1950- II. Title.

GV1137.6.H38 2004 796.83QBI04-700438

TRACKSPUBLISHING

Dedicated to the sweetscience and to all whohave laced on glovesattempting to go beyondslugging.

Acknowledgementsin alphabetical order

Aisha Buxton for production

Phyllis Carter for editing

Kylie Hatmaker for set production

Kory Hays for showing and sharing his talentthroughout this guide

Margaret Simonds for production

Students and teachers past and present formaking every day a learning opportunity

Contents

Introduction 71. Training continuum 112. Stances and guards 153. Footwork 234. Upper body mobility 315. Fist rolling 35 6. Hinge principle 397. Punches 438. KOs and power punching 759. Jab drills 83

10. Combinations 10511. Beat punching 12512. Defensive concepts 12713. Defense mechanics 12914. Isolation and touch sparr ing 14515. Feinting 14716. Drawing 15717. Pivoting and waltzing 17118. Shifting 17719. Shuffling 18120. Caught on the ropes 18721. Infighting and shelling up 19322. Clinching 19923. Ring generalship 203

Resources 219Index 220

Warning labelBoxing includes contact and can be dangerous .Use proper equipment* and tr ain saf ely. Practicewith restraint and respect for your partners. Drill forfun, fitness and to impro ve skills. Do not fight withthe intent to do harm.

*Since padded gear can b lock and shadow impor-tant views, fighters shown in this book did not wearsparring gloves or protective gear in order to bettershow technique. Author and publisher do not advo-cate boxing without proper equipment.

If you browse anybookstore looking forcontemporary boxingbooks, you will find a fewbiographies of past great fighters and a smatteringfrom the present.You will find also many titlesregarding fitness boxing. Fitness boxing is a curiousanimal. It is nothing more than taking the barebones of the professional boxer’s conditioning reg-imen and cleaning it up for mass consumption.Fitness boxing removes the bumps and bruises andglosses over the hard-core approach to a fighter’straining program.The result is a toothless bas-tardization of a noble sport.

I understand the urge and visceral attraction tobecoming fit by going though the motions thattruly tough human beings perform. But most ofthese workout books are pale imitations of the realthing and poorly represent the sweet science.Thesecontemporary volumes may show you somepunches and a few combinations, but they haveremoved the science from the sweet science.

Introduction

8

With the exception of the two fine volumes by DougWerner and Alan Lachica, Boxer’s Start-Up and FightingFit (Tracks Publishing) you will find little to nothing inprint that covers the deceptive tactics, strategies andadvanced maneuverings of the fight game. BoxingMastery reintroduces the scientific and strategic beautyof the sport above fitness and slugging. I seek to putthe brain back into the athlete who wants to use hisentire body to best effect.

This book is intended for the fighter who alreadyknows the basics. If you are a novice, there is much tobe learned here, but I urge you to take a look at thetwo boxing titles listed in the Resources section as wellas the recommended video instruction. BoxingMastery is intended to be a source book of strategiesand tactics for the real boxer — the individual whowants to take the sport beyond a trendy cardio activityand test his mettle with an actual opponent.

You will not find every tactic and tip ever accrued inthe ring between these covers.That would call for amuch larger volume.You will find plenty to mull over,whether you’re green to the ring or have pro fights toyour credit.Training equipment, conditioning, speedbag work, double-end bag tips, maize ball drills, rope-skipping, plyometric exercises and the like are notincluded here. My primary task is to enlighten thefighter in the realm of ring generalship.And general-ship it is. For boxing is more than survival of the fittest.It is a game of conditioned reflex action, destructivedeception and coordinated, exquisitely articulatedphysical combat. Indeed, boxing is a science.And asweet one at that.

Introduction

9

Lead and rear hands— a special noteProbably a first in theannals of boxing books,both fighters in this book(Mark Hatmaker andKory Hays) are south-paws. No problem. Rightand left leads will getthe same benefit fromthis guide becausehands are labeled leadand rear, not right orleft. Read the materialand as you look at thephotos, adjust accordingto your preference.

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There is a ton ofinformation in thesepages. If you are an experienced fighter, feel free tojump in anywhere. I recommend the novice start atthe beginning and work through the end of thebook. No matter your skill level, I recommend youtake each technique or tactic and work it throughthe following training continuum to ensure that theinformation is deeply seated into your nervoussystem.

Mirror trainingI know it is tempting to take a new idea and runimmediately to the heavy bag or get in front of anopponent, but the most important piece of equip-ment you can own is a full-length mirror.The mirroris absolutely the best tool for self-correction. Byworking before a mirror, you provide your ownfeedback about your movement, technique andguard. Is as tight, fluid and powerful as need be?Work everything in front of the mirror — footwork,offense, defense and upper body movement. Keepthis fact in mind: If it ain’t right in front of themirror, it ain’t gonna be right anywhere else.

1 The trainingcontinuum

Equipment trainingAfter you’ve honed your tools in front of the mirror, itis time to apply them to solid targets.Take the selectedtechnique or tactic and apply it to the training appa-ratus that will best accomplish the desired result. Inother words, select the device that will provide themost realistic feedback for that particular tool. In broadstrokes, (there are exceptions) use the heavy bag forworking power, the double-end bag for timing andaccuracy, the maize bag for defense, slip-sticks forupper-body mobility and so on.With this information inmind, choose wisely.

Partner/coach drillsThis vital step in the continuum allows you to standbefore a live opponent who is either gloved up himselfor outfitted with focus mitts.At this point in the gameyou are not sparring yet, but working the designatedtool or tactic in isolation, preferably in real time.

Counterpunching drillsThis is a complex aspect of the continuum thatrequires much forethought. It is an absolutely vital stepin moving the fighter from being only a puncher into aboxer.

Situation and isolation sparringHere you finally work with an opponent, but you arenot slinging leather with abandon.You and yourpartner agree on ground rules that limit the usualboxing game in order to emphasize the tool or tacticto be drilled. For example, to improve your clinchingskills, you may have your partner spar an inside fightwhile you attempt to muffle his attack and clinch as he

The training continuum

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Chapter 1

13

attempts to stave off your clinch. Once the fight movesto the outside, you agree to bring the fight back to theinside range.

SparringNow all bets are off.You and your opponent are eachtrying to hone individual games while trying to besteach other. It’s the ultimate goal of the boxing game,but I cannot stress enough the necessity of movingthrough the previous five steps before considering thesixth step.

14

It’s not readilyapparent, but there arevarieties of stances inboxing. Each stance isor was designed toemphasize a particularoffensive or defensivepoint or to make the most of a particular fighter’sbuild. In this section, we will introduce six guards.Ideally, you will select the stance that feels best foryou and work from there. I recommend a noddingfamiliarity with variations of your primary guard sothat you can be effective if you find yourself fakedinto an awkward position or you choose to use anunorthodox guard to bait or confuse an opponent.My preference, the classic guard, will be used as thedemonstration stance throughout this book,although the material will work with any of theguards presented.

2 Stancesand guards

Stances and guards

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Classic guard● Picture yourself standing on a clock face. Left leadfighters stand with their left foot at 11 o’clock andtheir right foot at 4 o’clock. Right lead fighters standwith their right foot at 2 o’clock and their left foot at 8o’clock.

● Your feet are approximately shoulder width apartwith weight carried equally between the two feet.

● Your toes face forward with only the slightest insideturn of the toes of the lead foot.

● You feel your weight through the balls of your feetwithout actually being on your toes.

● Your knees are slightly bent for fluid movement.

17

● Hands are up.

● The rear fist touches the rear side of the jaw.

● The lead fist is held at the level of the lead shoulder,extended approximately one foot in front of thatshoulder.

● Keep your elbows parallel and not flared into aninverted letter V.

● Keep your chin down toward the sternum.

● Keep your shoulders up for jaw protection.

● Noted proponents of the classic guard style wereGene Tunney and Sugar Ray Robinson.

Chapter 2

Stances and guards

18

Peekaboo guard● This is a variation of the classic guard made famousby trainer Cus d’Amato and Floyd Patterson. Only thedifferences from the previous guard are addressed.

● The crouch is a bit deeper to shield more of thebody.

● The parallel forearms are raised higher to better pro-tect the head.

● The fists are left unclenched except when punching.

● Defense from the peekaboo guard is primarilyshelling up and picking off incoming punches withslight inward and outward parries.

Chapter 2

19

Crouch● This is a peekaboo guard variant favored by aggres-sive body punchers.

● It is ideal for upstairs/downstairs punching.

● This is a strong stance for hooks and uppercuts butcalls for lots of head movement and bobbing andweaving because the deeper stance makes swift foot-work more difficult.

● To assume the stance, maintain the peekaboo handposition and widen the clock face, which lowers yourbody’s center of gravity.

● This stance was used to great effect by JackDempsey,Tommy Burns and Mike Tyson (early career).

Stances and guards

20

Jeffries crouch● This crouch uses the widened clock face principle,but the hands are carried more forward than in theclassic guard hand position.

● It is a good guard for short straight body punchingand hooks to the body. Its limitations are reduced footmobility and lack of head coverage.

● This stance is named for its major proponent, JimJeffries.

Chapter 2

21

Philly shell● This interesting guard variation calls for carrying thelead arm in a shoulder roll position. It is excellent forbody protection and for delivering hooks. It is a some-what poor guard from which to throw jabs.

● To assume the stance, turn your lead shoulder to facethe opponent — toward noon on the clock face.Yourrear hand moves to cover your lead jaw by placing theback of your rear hand against the lead jaw line.Thelead arm is carried low with the glove covering theliver/solar plexus.The lead shoulder is carried high asadditional jaw protection.

● This guard has been utilized to great effect by manygreat boxers from Philadelphia, notably Joe Frazier.

Stances and guards

22

Cross guard● This is essentially a hybrid between a crouch guardand a Philly shell.

● Assume the widened clock face position. Move therear hand across your face as you do in the Philly shell.Then cross your lead glove to protect the rear jaw line.This hand position can be reversed with your rearforearm resting on the outside.

● Be aware that although this variation is an effectivedefensive guard for shelling up, the crossed arm posi-tion traps an arm rendering you unable to respond orinitiate with optimum speed.

● This unusual guard was used to great effect byFreddie Mills and Len Harvey.

This is a key skill oftenoverlooked by manynovices eager to get to thepunching.Without solidfootwork you will neverreach your opponent with a firm base underneathyour punches. Even more detrimental, you will becaught flat when receiving punches, and this is thesurest way to lose a fight. I strongly advise you topay attention to the footwork concepts providedand hone them with the accompanying drills.

● Maintain a shoulder-width stance even whenmoving.This is the only way to remain in balance.

● Resist the urge to bounce, hop or Ali shuffle withyour steps.These excess movements waste energythat will be at a premium in later rounds. Flashyfootwork also makes you light on the canvasremoving solid support for your punches.

● Strive to keep your feet in contact with the floorat all times, even while stepping.Think step anddrag at all times.

3 Footwork

Footwork

24

Aligning with an opponentIt is also important to consider where your feet areplaced in relation to your opponent’s. Ideally, your leadfoot is aimed between his legs. Many fighters movewith their feet in line to their opponent’s — a line canbe drawn from the lead foot to the opponent’s rearfoot, and another line from the rear foot to the oppo-nent’s lead foot.They are positioned as if standing onthe rails of a train track facing each other.This align-ment gives each fighter similar offensive and defensiveopportunities.

Step and drag forward.

4

5 6 7

321

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Your goal is to take superior position by offsetting thisalignment and placing your lead foot to the inside posi-tion.This removes your opponent’s rear hand’s offen-sive and defensive opportunities. Keep this in mindwhile drilling your footwork.

Step and dragThe step and drag is a specialized movement patternvital to boxing success. It requires that you step in thedirection you want to move with the foot that leads inthat direction and then drag the trail foot to reestablishyour ideal stance and guard.

Chapter 3

Step and drag outside (stepping latter ly toward the lead).

765

4321

Footwork

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Work the following drills for at least one round each.

● Step and drag forward ● Step and drag retreat

● Step outside and drag — Stepping outside means stepping later allytoward your lead side. Left leads will step to their left, southpa ws totheir right.

● Step inside and drag — To step inside, left leads will step their r ightfoot to the r ight and drag while southpaws will step the left foot to theleft and drag.

● Step back 45 degrees left ● Step back 45 degrees right

● Speed retreat — This is essentially a step and dr ag retreat per-formed at top speed evading a pressing attack.

Step and drag back 45 degrees left.

6

1 2 3 4

5 7

Chapter 3

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Step and drag speed retreat.

1 2 3 4

5 6 8

9

7

10 11 12

Footwork

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PivotA pivot is a footwork maneuver that requires you topivot on the ball of the lead foot to either direction andsweep/drag the rear foot around in the appropriatedirection. Pivots can and should be combined with theabove drills to create a fluid and preferably unpre-dictable movement style.

Pivoting drills

● Pivot inside ● Pivot outside

Pivoting inside.

1 2 3 4

765

Chapter 3

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CenteringAn important concept in ring generalship is to controlthe center of the ring.Your job is to keep your back offthe ropes and turnbuckles and to maneuver your oppo-nent so that his back is always relatively close to theropes and turnbuckles.You do this by consciouslybeing aware of getting yourself back to the center ofthe ring and pressuring him out of the center.

These centering drills will help seat this concept.

● Retreat and circle outside to retur n to the center.

● Retreat and circle inside to retur n to the center.

● Retreat/feint/circle outside back to center. To feint is to fake apunch. See Chapter 15.

● Retreat/feint/circle inside back to center.

● Retreat/feint/circle inside and then wheel outside . To wheel isto speedily change directions.

● Retreat/feint/circle outside/wheel inside.

ClapperThis drill will help build footwork reflexes.You willlearn to switch directions at someone else’s dictatesrather than your own. I suggest working each step of itfor several rounds until it is second nature.

To prepare for this drill, you must hang a small beanbag or any other light target (even a sheet of paper willdo) in the center of the ring/training area.The targetshould be at chin height.You will stand approximatelyeight to ten feet away from the target.

Footwork

30

Phase I — Begin circling clockwise.Your trainer willclap at random intervals.When you hear the clap, circlein the opposite direction.

Phase II — Each time the trainer claps twice, step for-ward and throw a jab at the target and then shuffle outto change directions.

Phase III — When the trainer claps three times, shufflein and throw a jab/cross combination and then shuffleout to change directions.

Phase IV — When the trainer claps four times, step inand fire a jab/cross/lead hook and then shuffle out tochange directions.

Footwork alone is notenough to make you a diffi-cult target and to disguiseyour offensive intentions.You should strive to makethe entire body slippery orhard to hit.To make thisconcept a reality, you must learn to marry craftyupper body movements with footwork drills.Thereare essentially two approaches to upper bodymobility — long rhythm and short rhythm.You willlikely find one more suitable to your style and bodycomposition than the other, but it is integral thatyou work both since each serves a vital purpose indifferent fight contexts. Before tackling the twostyles, keep the following rules in mind.

● The upper body is always in motion to reducetarget acquisition and to make your offensiveprobes hard to read.

● The movements, whether long or short rhythm,are only one head width.Any movement more thanthat is wasted motion that can pull you out of goodguard position.

● Take your hands with you as you move. It is acommon error to move the head but leave the

4 Upper bodymobility

Upper body mobility

32

hands stationary making the head an easy target.

Long rhythmThis is a back-and-forth rocking of the upper body nor-mally executed at the outside range.Think MuhammadAli.

Short rhythmThis is a quick side to side movement performed asyou move to the inside. For an excellent demonstrationof short rhythm observe Joe Frazier.

Bobbing and weavingMany people can envision a slick boxer executing acrafty bob and weave to escape and frustrate an oppo-nent, and it is indeed a thing of beauty to witnesswhen performed well. Despite the visceral attraction tothis flashy mode of defense, I want to dissuade youfrom using this method. Bobbing and weaving wastesprecious time and energy and may leave you open foruppercuts, hooks and overhands. In its stead, I recom-mend developing slipping, feinting and side-steppingfootwork to the best of your ability. But if I can’t per-suade you to abandon this mode of upper body work,at least work it with a minimum of effort and move-ment.The following drill will help establish efficientbob and weave work.

Bob and weave drillStanding in your guard, have your trainer place his leadhand on top of your lead shoulder.With his hand ontop of your shoulder, begin several rounds of bobbingand weaving, moving only enough to clear his forearmwith each pass.

Chapter 4

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Once you feel comfortable with this drill, have yourpartner fire slow motion punches at your head.Yourmission, should you choose to accept it, is to continuebobbing and weaving with scrupulous economy ofmovement.

Long rhythm.

Short rhythm.

Upper body mobility

34

Bob and weave drill.

7

1

2

3

4

5

6

Yeah, I know. Beenthere, done that.Well, inorder to be absolutelycomplete, let’s be surewe really know whatwe’re doing.There are 26 bones in the human hand,and boxers injure any number of these withenough frequency to have an ailment,“the boxer’sfracture,” named after them.

Here’s how the old-timers of the bare-knuckle eramade a fist when they were punching hard through

up to 70 rounds.

5 Fist rolling

Fist rolling

36

● Roll your fist by closing from the outside in — littlefinger followed by the ring finger, middle finger andthen the index finger.

● Fold your thumb over the middle joints of your indexand middle fingers.

● You have rolled into a solid block.

The striking surface is the outside three knuckles (themiddle, ring and little fingers), not the first two.Moreover, you shouldn’t strike only with the topknuckles but with the entire three-finger surface area.By striking with the outside three fingers you are inproper skeletal alignment.All strikes will line up withthe forearm’s radius and ulna bones in a natural linethat will prevent you from rolling and spraining yourwrist.

It is advisable to learn to strike with the proper surfacearea in all drills, whether the target be training equip-ment, focus mitts or opponent. By proper fist rolling,focusing on the correct striking surface and properhand protection, you will have done all you can to pre-vent hand injury.

Chapter 5

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1 2 3

4 5 6

7 8 9

10 Rolling a fist — Str iking with the out-side three knuckles (using the entirethree-finger surface area) puts you inproper skeletal alignment.

38

There are two basic con-cepts that you shouldobserve when throwingany punch.They are thehinge principle and thephysics of power. Here, wewill deal only with theformer. For details onphysics of power see NoHolds Barred Fighting:Savage Strikes pages 15-19.The hinge principle is basically a physicalanalogy that teaches how to whip and snap everypunch thus increasing range, speed, and above all,power.

The hinge principle requires you to imagine thatyour upper body is a door, the more solid the doorthe better.Your lead foot (more specifically, the ballof your lead foot) is the hinge of this heavy door.With each punch you throw, you are to imaginethat you are slamming this door while pivotingsharply on this lead hinge. Let’s look at a few basicpunches and see how the hinge principle increasestheir effectiveness.

6 Hinge principle

Hinge principle

40

JabWhen executing the jab, you should slam the doortoward the inside of your body (toward the directionyour chest is facing) to fully exploit the range andpower available with this weapon.

Cross/rear straightWith the cross, you will slam the door toward the out-side of your body.

Lead hookWith the lead hook, you will slam the door to theinside.

Rear hookRear hooks require slamming the door to the outside ofyour body.

The hinge principle utilizes your entire body mass.Most people punch with only their arms and shoulders

or slam onlywith a waisttwist.Withthe hingeprinciple,you deliverover thelead footgiving youthe edge inpower andreach.

1 2 3

Chapter 6

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When consuming any information in this volume, do sowith the tacit understanding that the hinge principle isalways in play.

Jab.

Cross.

1 2 3

1 2 3

Hinge principle

42

Lead hook.

Rear hook, profile.

1 2 3

1 2 3

7 Punches

Anyone with even anodding familiarity withboxing can probablyname the basicpunches. Before wemove on to combinationwork and advanced tactics, let’s be sure that you aregetting the most out of the fundamental blows.

Essentially, there are only six punches: jab, cross,lead and rear hooks, and the lead and rear upper-cuts. But you can subdivide these punchesaccording to target level and double your arsenalnumber to twelve. By adding a few variations to thebasic arsenal, you can raise your punch numbereven higher.

Before getting into the mechanics of each punch,there are a few broad considerations that apply toall punches.

● Always observe the hinge principle when usingany technique.

● Maximize your stopping force by utilizing thephysics of power.

● Exhale with every punch — preferably from thenose.This serves a fourfold purpose:

1. Forceful exhalations allow for greater muscle in thepunch.Think of the power lifter exhaling forcefully ashe moves the bar.

2. By exhaling, you release body tension allowing youto be stronger and more relaxed.These attributes allowyou to put greater snap into your punches.

3. Boxing is a game of counterpunching. Eventually youwill receive a punch as you perform your offensivemove.The forced exhalation helps make the receipt ofyour opponent’s blow easier.

4. Exhaling through the nose and not the mouth allowsyou to keep your mouth shut and clamped on to yourmouthpiece. Breathing through the mouth or openingyour mouth for any reason raises the potential for abroken jaw. Ken Norton caught Muhammad Ali with hismouth open in one of their bouts and the jaw fracturewas a given.

● Make the negative (retraction) portion of your punchjust as crisp as your positive motion. Lazy returnscreate a field day for counterpunchers.

● Return immediately to your guard position. Identifythe arc, plane or path that each punch is to travel andendeavor to retreat along the same path.

● Observe the first step of the training continuum andshadowbox often. Shadowboxing prepares you for

Punches

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Chapter 7

45

missing.You will miss far more than you will hit.Shadowboxing will teach you to return to good guardwhether you have hit or missed.

● Last, but certainly not least, always keep your guardup and snap those punches.

Punches

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1

1

3

3

2

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High jab.

High jabThrow this punch straight from your guard positionand return it along the same path.

Your palm will be facing downward at impact.Aim low on the head, specifically, the nose, mouth andchin.These are the same targets for crosses.

Low jabTo fire a punch to the body, it is vital to lower yourselfto target level in order to take full advantage of yourbody mass and ensure good defensive coverage.

Punching at adownwardangle reducespower andcauses poordefensive posture.

To fire a lowjab or cross,step in withthe lead footand bend atthe knees andwaist simulta-neously.

47

Chapter 7

1 2

5

3

4

Punches

48

1 32

1 32

High crossSnap this punch straight from your rear guard positionand return it along the same path.Your hand will be ina palm down position upon impact. Using the hingeprinciple, you will punch off the rear foot to power

Chapter 7

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1 2

5 6

3 4

Low crossFire this bodyshot with thesame considera-tions given tothe low jab, butyour waistbend will be tothe oppositeside.

this punch. Drive with the ball of the rear foot.Theheel can be raised from the floor but not the ball of thefoot. Do not flare your heel to the outside.This golfer’sswing stance takes your body out of alignment and for-feits power and drive.

Study rear straight artists such as Muhammad Ali,WilliePep, Sugar Ray Robinson, Sugar Ray Leonard, GeneTunney and Larry Holmes.Ali’s cross was so crisp thathe was able to fire it as a lead punch, which is not rec-ommended for the majority of us.

Punches

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1 32

4 65

High lead hookThe lead arm remains in a fixed 90 degree angle withno push through at the end of the punch.Your fist willbe held palm down for tight hooks and palm facingyou for longer range hooks.Your targets for high lead

Chapter 7

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4 65

51

and rear hooks are the lower center side of the jaw orthe temple. Some fighters find success hooking to theneck. Observe great hook artists such as RockyMarciano, Joe Frazier, Joe Louis, Sugar Ray Leonard, JackDempsey and Mike Tyson.

Punches

52

1 32

4 5

High rear hookObserve all the considerations for the high lead hook,but keep in mind that straight punches are excellentcounters for rear hooks.

Chapter 7

53

1 32

4 65

Rear hooks are slower and easier to read weapons thanlead hooks, so the rear hook should be fired only in afinishing combination or when a seemingly safe oppor-tunity presents itself.

Punches

54

1 32

4 65

Low lead hook.

Chapter 7

55

1 32

Low lead hookUse the same lowering of the base shown in straightbody shots when delivering low hooks.

Excellent body hook targets are the ribs, particularly upand under the floating ribs.Think Roy Jones Jr.’s bodyshot knockout of Virgil Hill.

You can also cause damage by firing hooks at the heartand to the hips. Hooking to the inside and outside ofthe upper arms usually brings an opponent’s handsdown leaving his head open.

Low rear hookThe low lead hook principles apply but the danger ofleading with rear hooks (page 53) is multiplied for lowrear body hooks.

Punches

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High lead uppercutThe uppercut is an inside fighting weapon.

To fire, lower the punching hand six to eight incheswhile turning your hand palm in.

Stand up and snap the punch through the targetwithout winding up.

The jaw is the primary target of high uppercuts.

Keep in mind that uppercuts are dangerous punches tolead with. It is best to throw them behind jabs.

It is also advisable to move slightly to the opponent’soutside when firing the lead uppercut to diminish hisdefensive and countering opportunities.

Look at uppercut masters such as Mike Tyson, JackSharkey, Kid Gavilan and Muhammad Ali for inspiration.

Chapter 7

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1 32

4 5

High lead uppercut.

Punches

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High lead uppercut.

Chapter 7

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Low lead uppercutAll lead uppercut considerations are in play except thestarting guard is lowered by bending at the knees, andthe optimal target is the solar plexus.

Punches

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High rear uppercutYou will execute by turning your rear shoulder towardyour opponent and dipping it.

Do not alter your guard as you set up this punchbecause this telegraphs your intention.

Step in with your lead foot and slightly to your outsideand drive the punch off the ball of your rear foot.

It is best with all uppercuts to have the knees bent abit more than usual to provide additional power sincethe hinge principle is not a factor.

The high rear uppercut is used primarily to pullsomeone out of a crouch, which sets them up toreceive either crosses or hooks.

Chapter 7

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High rear uppercut.

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High rear uppercut.

Chapter 7

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Rear low uppercutThe mechanics for the high rear uppercut as well asthe lowered base consideration discussed for the lowlead uppercut are in play.

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4 5

Corkscrew off jab.

Corkscrew straightsCorkscrew straights are fired off the jab or cross.Thesetwo straight punches are fired with proper jab or crossmechanics, but upon impact, twist the fist 180 degreesfor added cutting potential.

This final twist comes from the shoulder and not theelbow or wrist.

In standard jabs and crosses, your palm is facing downat the point of impact.With the corkscrew, you twistyour fist until the thumb is facing downward.

The corkscrewis primarily usedto inflict a cuton your oppo-nent’s face or toexacerbatedamage to a pre-existing cut.There is noneed to trainthem as bodyshots.

Chapter 7

65

1 2

Corkscrew off cross.

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Lead shovel hookThe shovel hook is a powerful body shot that splits thedifference between a body hook and a body uppercut.It’s called a shovel hook because its upward 45 degreearc is similar to a shoveling motion, as if throwing dirt

Chapter 7

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over your opposite shoulder.

It is not a lead weapon and is used mainly inside.The heart, floating ribs and solar plexus are idealtargets for this punch.

Punches

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Rear shovel hookThe rear shovel hook follows the mechanics of the leadshovel.

1 32

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Chapter 7

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Rear shovel hook.

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Kangaroo hookThis punch was used most effectively by FloydPatterson and was developed by his trainer, CusD’Amato.

It is useful against tall opponents but there are draw-backs.A fighter must travel a fair distance (outside toinside) and throw a rather looping punch that may beeasily blocked or countered.

It is essentially a long lead hook accompanied by a for-ward shuffling jump into your opponent.

You should crouch in your guard at the outside rangebefore firing.

Fire this punch with maximum speed to compensatefor its previously mentioned deficiencies that telegraphintention.

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Kangaroo hook.

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Bolo.

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Bolo punchA bolo has little use in a legitimate boxing arsenal, butsince you see them occasionally, we will discuss them.

A bolo is little more than a flashy uppercut thatdepends upon speed and carries little power. It is firstand foremost a showboat move.

To throw a bolo, whip your rear hand in a backwardcircle allowing it to snap up into your opponent’s chin.

Depending on your sources, bolos were first thrown byeither Kid McCoy or ex-middleweight champ CefarinoGarcia.They have been used by many fighters sinceincluding Sugar Ray Leonard and Roy Jones Jr. Boloswere used to their best effect by Cuban welterweightKid Gavilan.

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Everyone lovesKOs.You can win afight by decision andbe beautiful while you do it, but there is no denyingthe visceral appeal of the decisive knockout.Trueboxing artistry does not require you to have a KOto your name to be a champion. But there’s noharm in trying.We will discuss a few of the aspectsbeyond the physics of power to get you closer tothis elusive but powerful skill.

Contrary to popular belief, the most essentialattribute needed to become a KO artist is notpower (although it’s certainly nice to have). It’smore important to have range mastery, accuracy,timing and speed.

Knockout punching is not about loading up andlooking for a Sunday punch. Instead it is boxingwell — knowing where, when and how to hit.Andeven then, the deciding factors seem to be theability and desire to hit often — not just hard.

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Realize that form is more important than power andstrength. Strive for perfect form. Once that is attained,efficiency of movement will allow speed to follow nat-urally.Then form and speed will combine to createpower.The key to making this formula work is repeti-tion, repetition, repetition.

It is essential that you identify the optimum range ofeach punch in your arsenal and throw the properpunch at the proper time. For example, there is nodenying that uppercuts are powerful weapons, but thisis true only in an inside fight.At outside or evenmiddle-ranges, they are useless. In other words, knowwhich punch goes where.

Tight shovel hooks are responsible for more KOs thanany other body shot.With that in mind, work them dili-gently and throw them when the opportunity presentsitself.

It has been observed that knockouts “need room.”That is, tight inside fighting is good for softening upthe body, but the majority of knockout punchesobserved in bout after bout travel a minimum of 18 to24 inches.

Sports physiologists inform us that muscles contractmore forcefully if they are stretched before they con-tract. It is this stretch/contraction principle that createsthe majority of plyometric conditioning programs.Toobserve this elastic/contraction phenomenon in boldrelief, look to baseball.The pitcher winds up his pitchbefore the major contraction to assist in the powertransference.The same holds true in batting.

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Without the wind up the pitcher or batter relying ononly brute strength will see little return. Examine yourpunching technique and realize that the hinge prin-ciple allows you to take full advantage of theelastic/contraction basis of power without sacrificinggood guard.

Work with the elastic/contraction concept in mind butdon’t wind up every punch in an exaggerated manner.Use smaller motions to remain safe. Learn to embodythe advice of Bob Fitzsimmons who said,“Hit fromwhere your hand is.”

Combinations result in KOs more than the solitarySunday punch. Don’t just stalk your man looking forthe right time to throw a bomb. Box your opponent.Probe.Throw punches in combinations.An increase inpunches increases the potential for a knockout.

Strive for pinpoint accuracy in training so you can hitthe optimum knockout targets in bouts.There are spotson the human body conducive to KOs. If you cannothit them, all this information is for naught. I highly rec-ommend using focus mitts with target dots on them.Aim for the dot in the center of the mitt rather thananywhere on the mitt surface.You can mark a heavybag with duct tape to practice accuracy as well aspower.The difference between a good punch and aknockout is often a matter of inches in punch place-ment. Learn to be a sharpshooter.

● The best KO targets on the head are the temple andjaw, particularly the chin. Punching to the eye can closethe eye or distract while you hit a follow-up shot.

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Punching to the nose also can be used in this distrac-tion/setup manner. Punching to the ears is another par-ticularly annoying tactic and can be used successfullyas setups.

● Excellent body shot targets are the solar plexus, thefloating ribs, the heart (high on the left side) and theliver (low on the right side).

● The best body shot weapons are crosses, shovelhooks and uppercuts.

● Don’t get hung up on this piece of advice — justabsorb it and let the information float around in yourskull.Try to time your body shots to connect whenyour opponent is inhaling.While taking a breath theabdominal musculature has to relax making impactmore difficult to take.With experience you will be ableto monitor your opponent’s breathing rate and makethe most of this tip.

● To flog a dead horse, don’t wait for the perfectpunch.That punch does not exist. Hit often and hit pre-cisely.When you have an opportunity to punch, deliverit. Do not wait. Do not hesitate.

● Although it’s important to hit often, do not flail. Donot swing wildly.Always hit with proper form andreturn to good guard.

● The objectives in boxing should be perfection ofform, relaxation of the body and mind, complete con-trol of your emotions and authority in the ring. Don’t

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Eye and nose shots distract and serve as excellent setups.

Power punches to the jaw and chin are pr ime KO targets.

Temple shots yield KOs and throat punches disable and distract.

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strive for the knockout. Be the best boxer you can beand follow the advice in this section. Knockouts mayfollow accordingly.

Jack Dempsey’s cage drillThe explosive Jack Dempsey used this drill to buildpower. He was known to train in a ring (cage) that hada five-foot high roof (some reports list the height atfour feet).This prevented him from standing at fullheight.You can forego the expense of building such acage by working several rounds of shadow boxing,focus mitts and heavy bag from a deep crouch. Do notallow yourself to stretch to full height until the roundis over.

Working from a deep crouch builds power andendurance in the legs and teaches you to explodethough punches. I heartily endorse this drill.

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Body targets include the solar plexus, the floating r ibs ...

... the liver and heart.

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Jab is king.

It is the most usedand most valuedpunch for goodreason.The jab isyour probe — itallows you to testyour opponent to seewhat sort of defense he has.The jab is your rangefinder — telling you when you need to move or firea follow-up punch.The jab is your best defensiveweapon — moving behind a stiff jab can keep anopponent at bay.The jab is the premier tool to setup all other punches. In short, the jab is the bestfriend you have in boxing. Learn it well.

Several jab drills and varieties of jabs to add to yourarsenal follow.While working these drills, rememberto observe all of the proper mechanics of throwinga jab.To aid in your education, look to masters suchas Muhammad Ali, Sugar Ray Robinson, Sugar RayLeonard,Tommy Loughran,Tommy Hearns, LarryHolmes and Willie Pep.

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Hitting on the flyHitting on the fly is simply moving after you throw apunch. Seldom (if ever) will you stay put in your foot-work or upper body rhythm after you throw a punch.Movement is key to good boxing.The following drillswill help seat that skill. I recommend working severalrounds of each.

● Jab and advance ● Jab and retreat ● Jab and move left ● Jab and move right ● Jab and move clockwise ● Jab and move counterclockwise

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1-6 Jab and advance.

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1 31-6 Jab and move right.

1-8 Jab and move clockwise.

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Multiples and levelsThe jab can (and often should) be thrown in combina-tions. It is also wise to change levels with multiple jabsto work both body and head.

Key Point — If the last punch you throw in a combina-tion is to the body, you need to move out immediatelybecause you are open for countering.You can open

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with and insert a body shot in the middle of a combi-nation, but don’t finish with a body shot withoutretreating fast and with good guard.

Once you’ve worked the drill suggestions on the nexttwo pages for several rounds, come up with your ownmultiples.

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14Photos 1-14Jab the head, jab the body and retreat.

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4 5

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2Double jab to the head.

Jab the body, jab the head.

Double jab the head, jab the body and retreat.

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● Double jab to the head

● Jab the head, jab the body and retreat

● Jab the body, jab the head

● Triple jab the head

● Double jab the head, jab the body and retreat

● Jab the head, double jab the body and retreat

● Jab the head, jab the body, jab the head

● Jab the body, jab the head, jab the body and retreat

● Quadruple jab the head

● Jab the head, tr iple jab the body and retreat

● Double jab the head, double jab the body and retreat

● Triple jab the head, jab the body and retreat

● Jab the body, triple jab the head

● Double jab the body, double jab the head

● Triple jab the body, jab the head

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Jab varietiesThe jab is not only the most useful of punches, it’s alsothe most versatile. Beyond the standard classic jab andthe corkscrew variation already covered, there are atleast five other jab varieties to be familiar with. Eachhas specific uses.

Lead joltJack Dempsey used this variety of jab to increase hispower.To fire, observe all of the standard mechanicsbut step forward forcefully with a hard step timing theimpact of your punch with the foot’s impact on thecanvas.The step is an exaggerated stomp.

Lead jolt.

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Lunge jabThis jab is used to cover a great deal of distance. Use alonger step than in the lead jolt, but the stomp is notexaggerated.Think the long lunge used in fencing.

Lunge jab.

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Speed or show jabThe speed jab (above) is all arm with no hinge.To fire,take your fist straight from its on-guard positiondirectly to the target.There should be no telegraphingwhatsoever from any other portion of the body.

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Pivot jab.

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Pivot jabThis jab is used to get you from outside to inside rangeand act as a cover at the same time.To fire, throw yourjab and rotate the jab shoulder inward toward your jawto provide cover against incoming counters. Move inbehind this jab to establish an inside fight.

Post jabThis is another offensive/defensive combination. Firethe jab and upon impact leave it at full extension.Thisis essentially a post and should muffle his counters.

Post jab.

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Jab and block drillsJabs are usually countered with a return jab, a cross ora lead hook.The following drills will hone youranswers to these common responses.

Jab and catch.

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Jab and catchThrow a jab to the head.Your partner immediately willreturn a jab to your head. Catch his jab in the openpalm of your rear hand.

Jab and coverYou throw a jab and your partner returns a lead hook.Cover your rear ear with the glove of your rear hand,bend your knees and bend slightly forward at the waistto block the hook.

Jab and cover.

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Jab and cross parryYour partner returns a cross to your head after yourjab. Use the palm of your rear hand to parry his crossat his inner wrist. Be careful not to cross your center-line with your parry. Provide just enough motion to re-direct his punch.

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Jab and cross parry.

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Low guard jabsIt is common to see jabs fired from the lead arm heldeither across the liver or at waist level.Throwing froma low guard position is not recommended. It is prefer-able to throw the jab from a high guard, but there willbe times when you are out of position or using anunorthodox strategy. Make sure that you return thepunching hand to high guard to cover counter open-ings.

Work jabs from the liver and belt levels.

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Jab from the liver.

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Sway jabThe lead arm dangles and rocks in a slight pendulummotion at the beltline. Practice firing the jab straightout of this swaying motion.

Low jabJabs to the body are underutilized by most boxers. Irecommend you become as proficient jabbing to thebody as you are with head hunting. Keep in mind thatonce you jab to the body you’ve got to exit immedi-ately since bending at the waist puts you in danger ofcounters. Move out low and fast.

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Jab from the belt.

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Sway jab.

The drills on the following three pages will developthe movement necessary to become a low jab artist.

● Low jab and step-out ● Low jab, step to the inside ● Low jab, step to the outside

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Low jab and step out.

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Low jab, step to the inside.

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Low jab, step to the outside.

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Low jab and high lead hookPlacing a second punch high allows you to break theexit low rule. Jab low, immediately follow with a highlead hook.Then wheel quickly to the inside to foilcounters.

Low jab and high hook ... more next page.

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It’s time to put the singlepunches together into com-binations. Combinations arekey to boxing mastery. Inthis section you will findmany combinations but notall the possible permuta-tions by any stretch of theimagination. By developingthe ones provided to thebest of your ability and uti-lizing linked combinations(page 123) and beat punching (Chapter 11) youwill have hours and hours of material to hone.

Before we get to the combinations, here are a fewconsiderations.

● Throw in combination whenever possible.Combinations confuse your opponent and increaseyour odds of victory.

● Think “up and down” or “vice versa” in combina-tions. In other words, set up body shots with headpunches and set up blows to the head with bodypunches.

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● When executing any combination, keep in mind thatthe best punch sequences flow from natural, synchro-nized movements of the body. Make optimum use ofthe hinge principle while maintaining good balance.

● It is ideal to finish combinations with a lead armpunch.This allows you to establish good balance andbetter able to counter your opponent’s follow-ups.

● Mix it up. Mix straight punches with hooks anduppercuts. Use angles to confuse your opponent.Straight punches cause your opponent to narrow hisguard opening him up for hooks. Hooks cause an oppo-nent to widen his guard for straight punch targets.Uppercuts cause boxers to lower their guard for headhunting.

To summarize: 1. Use straight punches to set up hooks.2. Use hooks to set up straight punches.3. Use uppercuts to set up head shots.

● Combinations work because of the force of number.Commit the following Sugar Ray Robinson quote tomemory, “I was really a weak puncher. It’s the punchthat you don’t see coming that hurts.”

● When working the following combination drills,don’t forget the combinations included in the Jab Drillschapter. Unless a target is specified, body or head,assume each punch is fired to the head.

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Jab

Jab

Cross

Cross

Cross body

Cross body

Jab body

Jab body

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Two-punch combina-

Combinations

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Jab

Jab

Lead hook

Lead uppercut

Lead hookCross

Cross Lead hook body

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Lead hook

Lead hook

Cross

Lead hook body

When double-hooking, drop thelead hand to a 45degree angle afterthe first hook. Thisgains a bit of dis-tance for thesecond hook.

Rear hook body Rear hook

Rear uppercut

Rear uppercut

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Cross

CrossJab body

Rear uppercut Jab

JabJab

Jab

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Three-punch combinations

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Jab Cross

Cross

Jab Cross

Lead hook

Lead hook Lead hook

Kangaroo

Cross CrossLead hook

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Jab

Jab

Jab

Jab

Jab

Cross body Lead hook

Lead hook

Cross

Cross Cross

Rear uppercut

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1 2 3

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1 2 3

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Jab

Jab

Lead hook

Lead hook Cross

Lead uppercut

Bolo

Lead hook body

Rear hook

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Jab Cross Lead hook body

Lead hook body

Rear uppercut

Cross CrossLead hook

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Four-punch combinations

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Jab

Cross

Cross

Lead hook

Lead hook

Lead hook

Cross body

Lead uppercut

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Jab Lead hook body Lead hook

Rear uppercut

Jab Cross body Lead hook

Rear hook body

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Lead hook

Jab

Jab Jab

Cross

Jab body

Rear shovel

Lead shovel

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Lead uppercut Rear hook Lead hook body

Rear hook body

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Lead uppercut

Lead uppercut

Rear hook Lead hook body

Jab Cross

Cross

Cross

Lead hook

Lead hook

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Five-punch combinations

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Jab Cross

Cross

Cross

Cross

Lead hook

Lead hook

Lead hook

Doubling the leadhook can be quiteuseful against ashelled-up oppo-nent.

Jab Jab

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Jab Cross Lead hook

Lead uppercutCross Rear uppercut

Rear uppercut

Lead uppercutJab Cross

Cross Lead hook

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Six-punch combinations

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Jab Cross

Cross

Lead hook

Lead uppercutCross

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Linking combinationsTo create higher punch counts, learn to link small com-binations. For example, a three-punch combo followedby a two-punch combo followed by another three-punch combo equals eight punches thrown insequence.

In this manner you can mix and match offensive com-binations 15-20 punches deep without having to mem-orize high number combos. Linking combinationsallows you to take the finite number of combinationsprovided and exponentially raise the variations in yourattack.

Work these linked combinations with no break in theinternal portion of each smaller unit and with only aslight regrouping or pause between the differing sets.In the drills the dash (—) represents a pause.

● Jab — Jab, rear uppercut — jab, rear uppercut, lead hook —jab, rear uppercut, hook, cross

● Cross — cross, lead uppercut — cross, lead uppercut, leadhook

● Jab — jab, lead hook — jab, cross, lead hook — jab, cross,lead uppercut, cross, hook

● Jab — jab, rear uppercut — jab, jab, cross

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Beat punching is anotherway to add variety and anair of unpredictability toyour offense.The beatpunching concept is basedon the fact that most boxersthrow combinations to a set rhythm or cadence. Forexample, when throwing a jab, cross, lead hook,cross combination, you will likely hear a regularlytimed 1 2 3 4 beat on the heavy bag or focus mitts.

Since most fighters train in specific cadences, thetendency is to expect incoming punches to followspecific cadences as well. By training yourself tobreak your natural cadence and introduce a varietyof punch rhythms, you will confuse and upset youropponent’s defensive timing and composure.Youcan take the concept of beat punching and apply itto any of the already listed combinations or to anylinked set of combinations.The following set ofdrills will illustrate how to apply the beat conceptto any combination work.

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If we take a standard four-punch combination andnumber each punch 1 2 3 4, we can manipulate thesenumbers to come up with entirely new animalswithout changing the order of the punches. In the fol-lowing examples, the combination sequence neverchanges.The dash (—) indicates a pause in the rhythm.

1 2 3 4

1 — 2 3 4

1 2 — 3 4

1 2 3 — 4

1 — 2 — 3 4

1 — 2 3 — 4

We have taken a standard combination (1 2 3 4)through five variations. It may not seem like much of arevelation on the page, but I strongly encourage you towork this concept in the gym.You will find it pays offrather quickly. By observing and utilizing these rhythmbreaks, you lift yourself from the rank of journeymanpuncher to the realm of slick technician.

Novice boxers andaverage boxing fansadmire punching ability. Expert boxers andinformed fans admire defensive skill. Successfulboxing is a game of giving more than you receive.Be mindful of these bits of wisdom as you practice.

● The great Rocky Marciano (an unlikely source forboxing defense) said,“The best fighters hit the mostand get hit the least.”

● Boxing is 50% offense and 50% defense.

● Boxing’s 80/20 rule says that your lead hand willperform 80% of the offense and 20% of the defense.Your rear hand does 80% of the defense and 20% ofthe offense.

● Keep your eyes on your opponent.

● Keep your chin down.

● Keep your mouth closed.

● Keep moving when you are in punching range —use long or short rhythm or both.

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● Don’t lunge with your punches.

● After a punch or defensive motion, immediatelyreturn to guard.

● Don’t give as much as you take — give more thanyou take.

● Don’t lean back to avoid punches. Doing so leavesyou with nothing to follow up with or with no place togo if your opponent is pressing the attack.

● Don’t use both hands to block a single punch. Usingtwo hands leaves more of your body open and rulesout the possibility of counterpunching.

● Blocking is performed close to the body or face.

● Don’t reach out to intercept or block punches. Doingso places you in an unguarded position.

● When you get hit (and you will get hit), don’t getangry. Stay composed, stay on your game and get towork.

● Observe the great defensive artists for inspiration.They include fighters such as Muhammad Ali,WilliePep, Sugar Ray Leonard, Joe Frazier, Sugar RayRobinson, Pernell Whitaker and Wilfredo Benitez.

As with all the mate-rial, work each indi-vidual element inisolation rounds tohone a feel for thetechnique. Once this isdone attempt limited sparring to begin learning

where and when each described defense is used.

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● CatchAllow the punch to landin the palm of your rearglove approximately 8-12inches in front of yourface.

Do not smack the punchdown because this opensyou up for counters.However, it is advisable tosmack the punch upslightly upon impact.

● Cuff Smack at the outer wristof your opponent’s jabarm with the palm ofyour rear hand. Do notallow your cuffing arm totravel across your chest.

Draw a small circle withthe cuff hand. Circle backtoward your chest afterimpacting your oppo-nent’s wrist rather thanacross your body.

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Cuffing a jab.

Catching a jab.

High jab defenses

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● Inside slipLean your upper bodyslightly lateral to theinside of your opponent’spunch (the inside istoward his chest).

The movement should bejust enough for the punchto miss — no more, noless.

Keep in mind that any-time you slip inside apunch, you are in dangerof being struck by youropponent’s oppositehand. Stay alert.

● Outside slipThe reverse of the insideslip.

Perform a slight laterallean to the outside ofyour opponent’s punch(toward his back).

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Inside slip away from a jab.

Outside slip away from a jab.

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● PullThis is called a “rock” or“sway” in some gyms.Youbreak momentarily a basicrule of stance by puttingup to 70% of your weightonto your rear foot.

This movement is swiftand calls for you to snapback to position immedi-ately. Remain in theleaning state only longenough to evade thepunch.

● Cross gloveEssentially perform a cuffwith the lead hand.

Cuff against his innerpunching wrist.

Follow the circling backto the chest mechanicsdescribed in the cuff sec-tion.

Pulling back from a jab.

Cross glove against a jab.

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● Shoulder roll andshoulder blockDrop your lead gloveacross your liver and turnyour lead shoulder towardthe punch.

Be sure to keep your chindown and your shoulderraised high.Allow thepunch to land on the del-toid mass of your shoulder.

● Step backDriving off your lead foot,step and drag quickly inretreat just out of thepunch’s range.

Shoulder blocking a jab.

Stepping back from a jab.

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High cross defenses areessentially the same ashigh jab defenses withslight adjustments.

● CuffYou will cuff with thelead hand against youropponent’s outer wrist.

● Cover or blockRaise your lead glove tocover your temple.Yourelbow points down, notout. Bend slightly at theknees and receive thepunch on the outside ofyour glove.

Cuffing a cross.

Blocking a cross.

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High cross defenses

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● Inside slip● Outside slip● Pull or rock● Cross gloveUse your rear hand to cuffyour opponent’s cross.

Cross glove against a cross.

Slipping inside (top) and out-side from a cross.

Rocking back from a cross.

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● CoverBring your rear gloveover your temple withyour elbow pointingdown.

Bend at the knees andforward at the waist tocut angle off the punch.

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● Shoulder roll

● Step back

Shoulder roll against a cross.

Stepping back from a cross.

Blocking a high hook.

High lead hook defenses

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● DuckThe ducking patterndescribes the letter V.

Bend at the knees and for-ward at the waist as youduck forward at a 45degree angle. Rise at a 45degree angle into youropponent.

Remember, you must bendat the knees as well as thewaist. Bending only at thewaist causes these threemishaps:

1.Your eyes will bedirected at the floor andnot your opponent.

2.You will be temporarilyimmobile and unbalanced.

3.You will be out of posi-tion for countering.

By bending at the kneesand keeping your eyes onyour opponent, you areready to defend andcounter intelligently.

Ducking a high hook.

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● Pull

● Cross gloveA cross glove versus ahook is different from thecross glove used againststraight punches.

It is basically a variant of acatch.

Here, the palm of yourlead glove seeks to smackdirectly into the fist of theincoming hook.

Rock the upper body backjust enough to make thepunch miss.

● Step back

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Pulling back from a lead hook.

Cross glove against a lead hook.

Stepping back from a lead hook.

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● Cover● Duck● Pull● Cross glove● Step backCovering against a rear hook.

Ducking a rear hook. Cross glove against a rear hook.

Pulling back from a rear hook. Stepping back from a rear hook.

High rearhook defenses

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● Forearm blockReceive the lead or rearpunch on either forearm.

Turn the blocking side ofyour torso slightly towardthe punch so that theforearm block providesfull coverage.

Block right uppercuts andshovels with your leftforearm and left upper-cuts and shovels withyour right forearm.This isoptimum, although eitherforearm ca be used.

Forearm block against anuppercut.

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● Glove blockTo glove block anuppercut or shovel, useright glove versus rightpunch and vice versa.

Smack the palm of yourglove downward into theincoming fist.

● Pull● Step back

Pulling back from an uppercut.

Glove block against anuppercut.

Stepping back from an uppercut.

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● Scoop A scoop can be performedwith either the lead orrear hand.The rear hand ispreferable because youcan counter with the lead.

Think of your elbowremaining in position on aball and socket joint andyour hand traveling in adownward arc toparry/scoop the incomingblow to the outside ofyour body.

● Forearm block● Step back

Scooping a low jab.

Forearm blocking low jab. Stepping back from a low jab.

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● Scoop ● Forearm block● Step back

Scooping a low cross.

Forearm blocking a low cross.

Stepping back from a low cross.

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● Forearm block● Step back

Forearm blocking a low hook.

Stepping back from a low hook.

Low hook defenses

To hone your offensiveand defensive games, I rec-ommend isolation andtouch boxing.

Isolation sparringAn isolation boxing drill issparring with a limited, agreed upon arsenal. Onlyspecific punches are thrown so that boxing part-ners can work and hone those punches and theappropriate defenses for each. Since the boxing islimited and specific, egos are left outside the ring inorder to focus on skill development.

Following are a few isolation drills to get youstarted.Work each for several rounds applyingvariety to your defense.Always work on timing. Playwith lighter contact in a tit for tat manner, meaningthat you throw and then your partner throws. Eventhough the punches and order of attack are prede-termined, strive to control the match with timing,pace and footwork.

● Jab for jab

● Cross for cross

● Jab/cross for jab/cross

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● Lead hook for lead hook

● Rear hook for rear hook

● Lead uppercut for lead uppercut

● Rear uppercut for rear uppercut

Touch boxingTouch boxing is another excellent drill that highlightsdefensive training without hard contact. Hard hittingtakes you back to old, ineffective patterns of response.Here you are allowed to throw any punch in any com-bination in no pre-set order. But this must be accom-plished at a designated pace dictated by your trainer,and all contact must be light.

You can call out percentages of contact and speedbefore each round. For example, 100% is an all outmatch at maximum speed and contact.

Contact percentages should range from 10% to 30%,but speed can be as low as 10% and as high as 100%.Remember, because contact is light, speed does nothave to be abandoned. Just as with isolation boxing,you are striving to develop specific attributes.

The safe confines of these two drills allow you toexplore offensive and defensive areas that even friendlysparring matches don’t permit.

Feinting is the art of thefakeout. It’s trickery anddeception.A feint is anyfalse offensive movementused to draw a responsefrom your opponent thatcauses him to pull himselfout of good defensive position leaving him open foryour real attack.

Here are few tips on feints and a dozen feintingdrills to master this skill.

Master the “look off”● Most people instinctively watch the eyes to deter-mine offensive intentions. Look at the body and theopponent will expect a body shot; look at his jawand he’ll expect a head shot. Don’t look at whatyou want to hit ... fake him out.

● When a feint doesn’t draw a punch, always comeback with a jab so that no motion is wasted.

● Slow your punching speed or change the pace ofyour footwork. Either will surprise your opponentand allows you to accelerate once a response iselicited.

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● The most successful feints use the eyes, hands, torsoand legs in concert.

Arm FeintsAppear to punch a certain area with a hand and thenquickly shift to another target.

Body FeintsMake sudden body moves such as advancing quickly,dropping the knees or pivoting shoulders to checkyour opponent’s reaction.

Masters of the feint include Muhammad Ali, Sugar RayRobinson, Sugar Ray Leonard,Willie Pep and BennyLeonard.The latter is often credited with havinginvented this art.

Feint drillsThe following drills are only a few of the many possiblefeints. By working each for several rounds and imple-menting them in your sparring, multiple variations willpresent themselves.The dashes (—) represent pausesbetween combination sets.

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Drawing is the opposite offeinting. In feinting you usea false offensive action tobait your opponent out ofposition. In drawing youexpose defensive flaws thatwill tempt him to attack. Inother words, you use drawing to make the oppo-nent come to you.You will leave the head or bodyunprotected to draw a particular attack that you areready to counter.

There is also a difference in attitude betweenfeinting and drawing. Feinting is aggressive becauseyou provoke a desired response. Drawing passivelydangles the bait as your opponent is lured intoaction.

But drawing and feinting both benefit from the“triple,” which is a pattern used to “teach” youropponent what you want him to do or expect. Forexample, you may feint a jab to the head and returnto a lazy guard twice, allowing your opponent tosee your “mistake.”The third time you do it, youropponent will usually choose to capitalize uponyour “error.” This is when you spring your drawingor feinting trap.

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Jab, retreat, jab, retreat, jab —and when your opponent fol-lows your retreat — connectwith another jab ...

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... or fire a cross ...

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These two tactics arespecific footworkmethods used when anopponent is coming toyou.With both the pivot or the waltz, you are re-directing your body mass.

The pivot is covered in chapter 3. Here we add afew punches to highlight its importance. If yourecall, a pivot is stepping back with your rear footin a wide sweep toward your outside (your back)while you pivot smoothly on the ball of the leadfoot.To gain the maximum countering benefits fromthe pivot, work the following drills for severalrounds. Have your training partner rush into youwith a furious attack (see next two pages).

● Partner rushes in — pivot, cross head

● Partner rushes in — pivot, lead hook head

● Partner rushes in — pivot, cross head, lead hook head,cross head

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Waltzing is a pivot variant made famous by the gracefullight heavyweight Georges Carpentier.The waltz isessentially a pivot combined with a side step to theoutside.

Feint the lead hand and retreat drawing your opponentto come after you.As he steps in, step to your outsideon your lead foot and then pivot on the ball of thatfoot.You may use your lead hand on your opponent’sback, shoulder or arm to assist moving him by you.

Follow with any of the punch combinations used inthis chapter.

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There is a final step to Carpentier’s waltz that is illegal.Once the waltz step has been performed, Carpentierwould grab his opponent’s lead shoulder with his leadhand, spin him back around and hit him with a rearhook (below).

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A shift is another foot-work tactic that is used toeither change leads as youretreat or advance. Shiftingis changing your stance by stepping a rear foot tothe lead or a lead foot to the rear.The step and dragshould be your primary advancing and retreatingweapon, but there are times when the shift is fasterand allows you to add power to punches (particu-larly hooks and shovel hooks).The following drillswill help you develop your shifting skills.

● Retreat shift — shift lead foot to rear

● Advance shift — shift rear foot to lead

● Retreat shift — fire a “lead” hook to the body (the formerrear hand is now the lead hand and fires the hook)

● Advance shift — fire a “lead” hook to the body

● Retreat shift — fire a “lead” double hook (hook body,hook head)

● Advance shift — fire a “lead” double hook

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Shuffling is yet anotherfootwork tactic.Whereasthe pivot, waltz and shiftare primarily counteringand defensive tools, theshuffle is almost alwaysused offensively.

Shuffling is a side to sidestepping used to followan opponent who iscaught on the ropes or tocut off the ring.You remain almost squared in yourstance so that you can fire either hand. Followingare drills to get you comfortable with this concept.

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Cutting off the r ing.

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Cutting off the ringStart in the center of the ring with a training partner.Use footwork to maneuver him against the ropes orinto a corner. Use primarily side to side shuffling toaccomplish this goal.At this stage you throw nopunches.You are trying to use only footwork to manip-ulate your opponent’s movement.Work this drill often.

Pressuring on the ropesYou have your opponent with his back to the ropes,and he is attempting to use his footwork to wheel out.Strive to keep him contained with only your side toside shuffling.Work for several rounds.

In the next stage of the drill you throw punches.Maintain a shuffle to keep your opponent against theropes.When he attempts to wheel out, fire low hooksto keep him boxed in. Fire hooks only against thedirection of his movement. For example, if he is shuf-fling to his left (your right) fire a low right hook tokeep him trapped.

In the next version of the drill, fire high hooks to keephim trapped.

And finally, double-hook your opponent as he attemptsto wheel out.

Optimally, during this drill you move laterally along thering ropes keeping your opponent pinned with hooksand changing his direction at will.

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Pressuring on the ropes.

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CorneringThis is the act of getting your man trapped with hisback to the turnbuckle.You can accomplish this withyour previous cutting off the ring and shuffling foot-work. Once you have your man cornered, it is time totee off. Go to work with heavy combination work anduse the shuffle to keep him boxed when he attemptsto wheel out. If there was ever a time to push for theknockout or finish, this is it.

To drill this concept, use cutting off the ring drills andshuffling to pin a training partner and have him feedcombination openings. Remember, you can really pressthe attack at this point.

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You do not ever want tobe cornered or caught onthe ropes.Your job is tocontrol the center of thering and to corner or catch your opponent on theropes. But sometimes you may find yourself in thatposition or on the way there.The following tips anddrills will provide your escape plan.

● When you are on the ropes, you are trapped. Getout ASAP. Do not fight off of the ropes. Do not rope-a-dope.

● Getting out is quite difficult, especially with asmart fighter in front of you who knows how toshuffle and corner well.

● Strive to hold the center of the ring and have agood sense of how close you are to the ropes at alltimes.

● When you feel the bottom ring rope touch yourcalf, it is time to move laterally and get out. (NHBfighters in cage situations should move laterally assoon as they feel their heel touch the cage wall.)

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Sugar Ray Robinson drill.

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● As you move laterally, jab and throw combinations,do not shell up.You must box your way back to thecenter.

The following drills address escapes while being driventoward the ropes and once you are on the ropes.Workeach for several rounds.

Sugar Ray Robinson drillAs you are driven back, take a retreating step and thena swift side step to bring yourself out of danger.

Archie Moore drillShell up, place your head on his chest to cut offpunching room and then move out to whichever sideis open.

Jersey Joe Walcott drillShell, turn to your inside and step out.

Jim Jeffries drillShell, wheel/pivot to your outside and step out.

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Some of the mostvicious punching occursduring infighting so youmust to be able to handleboth the offensive and the defensive game at thisrange.Your infighting guard needs to be tight.

Here are a few considerations:● Be ready to work inside your opponent’s swingsat the first opportunity. Use tight hooks, uppercuts,shovel hooks and short straight punches to beat hisswings.

● Push his arms away from his body and follow upby hitting the body with tight hooks, uppercuts andshovel hooks.

● Use an active short rhythm once inside to foil hisattempts to clinch.

● Remember to slip and move.

● When your opponent tries to clinch, rest yourhead against his chest and keep hitting the bodywith short, snappy punches.

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● While placing your head on his chest, stay in controlof your balance and weight. Don’t lean into him, justtouch his body with your head to prevent his clinch.

● Your best infighting weapons are hooks, uppercutsand shovel hooks.

● When in matched leads (both fighters have samelead), bump his lead shoulder with yours and then firetight combinations such as rear uppercut, lead hookhead, cross head, lead hook head (see next page).

Use hooks, uppercuts, shovel and short straight punches to beathis swings.

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Avoiding his clinch by pushing his arms back ...

In matched leads bump his shoulder with yours and throw tightcombinations.

... and resting your head against his chest.

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An excellent combination for infighting: rear uppercut, lead hookto the head, cross to the head and a lead hook to the head.

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Shelling upShelling up is the defensive side of infighting.

● To shell up properly you need to tighten your guardeven more than in offensive infighting. Completelycover the head and body. Leave no vulnerable areaexposed.

● Just as you used the head in an offensive manner, itcan be used in a defensive manner. Place your head onhis chest to cut off punching room.

● It’s best to get out of an infighting situation if you areunable to control it. Do this by wheeling out or usingany of the tips in the Caught on the Ropes chapter.

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Place your head onhis chest to cut offpunching room.

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You see it in practicallyevery fight and spectatorshate to see it at all.Thespectators are right.Thepurpose of a clinch is toget to a double-overhook position so that a fightercan muffle his opponent’s attack. I do not advocateclinching since it is a poor defensive mechanism.You will exert three to four times as much energyclinching or attempting to clinch than you would ifyou simply blocked and moved. Most fighters clinchat a time when they can least afford this poorreturn on their effort.

So, is the clinch an absolute no-no? Not exactly.Theclinch is a last resort defensive tactic. If you aregoing to clinch, make sure you do it right. Butalways keep this old gym maxim in mind — theclinch can keep you from losing, but it can nevermake you a winner.

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Standard clinch drillThe standard clinch entails over-hooking each of your opponent’sarms with yours.

● You get into the clinch posi-tion with a breast stroke motion.

● It is ideal to overhook his armsjust above the elbows with thecrooks of your arms.

● Lay as much weight upon your opponent as you can.You can rest briefly, which tires him by making himcarry your weight and better muffle his punches.

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Getting outThere are two ways to safely leave the clinch.

Spin out drill● You use the palm of one hand to grip your opponentjust above the elbow.

● As you step away, shove the gripped arm across hischest at a downward 45 degree angle to upset any fol-lowing attack he may launch.

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Shove out drill● Place your lead hand in the center of your oppo-nent’s chest.

● Once the hand is placed, shove him and step out ofthe clinch.

● The shove sets him on his heels and takes awayprime punching position.

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Boxing is not only aphysical game, it is,indeed, a mental one.AndI’m not talking about themental toughness neces-sary to be a serious competitor. I’m referring to thestrategy of the ring, all the inside information youneed for insight to what’s going on (or should begoing on) inside the squared circle like the prosand top trainers see it. I strongly recommend thatyou return to this section again and again to thor-oughly digest all of the tips. Give as much time tocommit strategy to memory as you do committingtechnique to muscle memory.

TipsThe following tips, in random order, range fromthoughts on keeping your cool, to further drillideas, to strategic advice on how to approach dif-ferent types of fighters. Dig in and highlight whatseems immediately useful. Return often as newsparring situations will bring other thoughts intobold relief.

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● Before sparring it is wise to break a sweat.Warmedup muscles have faster reaction times.A few rounds ofshadowboxing are usually sufficient to warm up a con-ditioned fighter.

● Always wrap the hands properly before sparring orworking any equipment.Your hands are fragile andonce injured, you will be out for a while.Always err onthe side of safety.

● Coating the face with Vaseline reduces the chancesof being cut. Most cuts occur when the dry leather of aboxing glove catches the dry skin of the face and tearsit.The important areas to coat with Vaseline are thebridge of the nose, under and around the eyes, thecheeks, the lips, the chin and the ears. Many fightersforget to coat the ears.Trust me, ear rips are quitepainful.

● Never compromise your defensive guard. It iscommon to see fighters square off against an opponent— planting the feet directly in front of him and facinghim with the chest.Avoid this. Use the tried and trueguards. Don’t be a sloppy slugger. Be a boxer.

● Proper technique beats flashy technique and show-boating every time.

● Strive to be an intelligent boxer and not a one-punchknockout artist.The overwhelming majority of knock-outs come from diligent attention to the fundamentalsof boxing, not from looking for the perfect time to teeoff.

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● Avoid telegraphing your intentions.Telegraphing isany telltale physical movement that indicates whatyour next punch or defensive action is going to be.Throw your punches crisply and cleanly without tip-ping your hand with head or shoulder movements orflying elbows. Fire from where your hand is.

● Don’t be predictable. Mix up your offensive anddefensive style so that your opponent can’t read pat-terns.

● Punch at every opportunity. Do not reach, pat or pawat your opponent.This is a sign of indecision. Punchcleanly and often.

● Don’t hesitate. If you start a punch, finish it. It mayland or at least disrupt a counter. Half a punch isworthless.

● Don’t flinch.This is easier said than done. Learn tokeep your eyes open and on your opponent evenunder fire.

● Fights are won in the gym, not in the ring.Always bein top condition. It takes time and lots of training tobuild fighting stamina.The time spent is worth it.Youcan be the strongest, fastest, toughest boxer around butif the gas tank is empty you can be beaten by a chump.

● Groove each and every offensive and defensive tech-nique into your nervous system.You do this throughdiligent repetitive training. Don’t be anxious to move tothe next drill until you have mastered what camebefore. Slow and sloppy technique is useless.

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● Don’t dance, prance or bounce around the ring.Utilize good footwork and don’t waste your preciousenergy with showboat shuffles.

● Relax between rounds.This is a lot tougher than itseems because adrenaline from the fight can keep yoursystem racing during that vital one minute break. Learnto regain as much composure and energy as you can.

● Anger leads to mistakes.A thinking fighter is animpassive fighter.There is no place for anger in spar-ring.

● Don’t charge. Charging is usually the sign of a frus-trated fighter who can think of no other way to getinside. If you charge, an experienced boxer will cut youdown to size, pronto.

● Spar for the following reasons:You want to improveyour skills.You want to have fun.You want to do yourbest to win. Never spar because you want to hurtsomeone. Boxing is a sport.A tough sport, yes, but asport all the same. Spar to be a great sportsman.

● We’ve discussed that you must get used to the ideaof getting hit.Well, you also need to get used to theidea of hitting another human being. Strangely enough,we all know that this is what this sport is about, yetsome great competitors, initially, are hesitant to do so.It’s a part of the game. Hit or be hit.

● Any time you enter a new or different ring, getfamiliar with it. Move on it, get a feel for the surface,the ropes and its size. Each ring is slightly different. Get

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used to it before you fight. Once you hear the bell, youronly concern should be your opponent.

● Reach can be deceptive. Look at your opponent’sarms, not his reach measurements. Reach is measuredfingertip to fingertip with arms outstretched.The mea-surement therefore includes extended fingers and thewidth of the torso.This inclusion makes this numbermeaningless sometimes.

● When struck in the head, strive to respond with theentire body. Using the whole body acts as a shockabsorber. Moving only the head increases the risk ofneck injury.

● Chuck Bodak, a former coach of Muhammad Ali, said,“I’m a firm believer that you should watch the hands ofyour opponent.Trying to decipher his intentions bywatching his shoulders and feet causes mass confusion.He doesn’t hit you with his shoulders and feet. He hitsyou with his hands.”

● Use the jab as an information probe. Start the fightwith the jab to see what he does. If he responds thesame way two or three times in a row, then more thanlikely, that response is a habit. Capitalize on it.

● Be confident. If you don’t feel confident, fake it. Ifyou’ve trained hard in the gym, you won’t be faking forlong.

● Keep moving.A stationary target is an easy target.

● Maintain your guard at all times.

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● Never give up the science. Stay with your gym-trained game plan.

● Whenever your opponent is in range, punch. Don’thesitate, punch. If you are in range to punch, he is inrange to punch. Be there first.

● Never fight your opponent’s game. In other words,don’t slug with a slugger, don’t counterpunch with acounterpuncher.Train all styles diligently.You’ll haveone you excel in, but be confident and competent in allof them.

● You will miss more than you will hit. Recover yourbalance, stay covered and hit again.

● When you see your opponent getting set to hit,move.Always move. Stick and move means punch andmove. Never stay still. Use footwork and rhythm.

● If you have reach on your opponent, use this to youradvantage and jab incessantly.

● Observe fight films of the past masters and watchthe masters of today for inspiration and learning.

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Boxing the tall opponent● Attempt to make him come to you. Most tall boxersare used to playing on the outside and making theiropponent’s come to them. See if you can reverse thissituation and make him come to you.

● If he will not come to you, move in whenever pos-sible and work the body. Remain there or, at least, get inoften if this is successful.Working from the inside elimi-

Boxing the tallopponent mayinclude duckinghis jab andthrowing crossesto the body.

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nates his height advantage.

● Once inside, use all the tips and drills from theinfighting section to work the body and head.

● You will have to work off his jab. Master defendingthe jab with catching, blocking and cuffing. Once youfeel his jab make contact, get inside immediately.

● Drill slipping and ducking the tall fighter’s jabs andcrosses and countering with crosses to the body. Drillthis in the gym before you face the tall fighter.

● Use explosive in and out movements, with short,powerful punches thrown to the body and head.Emphasize hooks, uppercuts and shovel hooks.

● Observe masters of this in-out style such as RobertoDuran, Rocky Marciano, Henry Armstrong, Joe Frazier,Jack Dempsey, Julio Cesar Chavez and Mike Tyson.

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Boxing the charger and infighter● Keep moving.

● Don’t fight his fight.

● Side step, pivot, waltz and stick him with the jabwhenever and wherever possible. Follow the jab with across.

Stepping and piv-oting around thestraight chargerand delivering alead uppercut.

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● If he gets inside, shell up and immediately move out-side.

● Avoid the clinch. In the time that you strive to grabhim, you can get your body battered and have yourenergy sapped.

● Work the jab incessantly. Double and triple up onthem to break his rhythm.

● Stick and move.

● Keep circling. Most infighters prefer to move straightahead. Do not provide him with that opportunity.

● Make him back up with your incessant jabs. Few in-fighters and chargers move or punch well while step-ping back.

● Along with jabs, fire quick, snappy crosses, hooks anduppercuts. If (that’s a big if) you are very quick, use theoccasional leading rear straight.

● Observe masters of this style such as Sugar RayRobinson, Muhammad Ali, Gene Tunney,Willie Pep andSugar Ray Leonard.

● I also recommend you study great matchupsbetween these two types of fighters. Study Ali andFrazier, Robinson and LaMotta, Dempsey and Tunney,Leonard and Duran, and Douglas and Tyson.

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Boxing the jab artist● Keep the rear hand in proper guard position to catchand cuff his jabs. Be prepared to slip and duck his jabto infight or to counter with a quick punch to the heador body.

● Work the body to sap his energy. Cut the ring off andattempt to corner or put him on the ropes in order totake his jab range away.

With hands highand in properguard position,you can cuff orcatch the jab andcounter.

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Boxing the slugger● Don’t slug with the slugger. It’s a crap shoot at bestand most usually in his favor. Play your game, not his.

● Keep moving. Do not let the slugger get set to firehis bombs. Move in quickly for sudden attacks and getout just as quickly. Don’t stay inside playing his range.

Straight punchesbeat widepunches everytime.

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Boxing the southpaw or unmatched leads● Don’t lead. Make the southpaw come to you.

● Circle away from his rear hand.Always keep yourrear hand high and ready to catch the rear bomb.

● Gain superior footwork position by placing your leadfoot to the outside of your opponent’s lead foot.

● A primary weapon with the southpaw is the leadhook.When he throws his jab, slip outside and fire thispunch.

● You should break one of the primary rules of boxingwhen fighting a southpaw by leading with the rearhand. Use feints and rear hand leads to set up combina-tions utilizing both hands.

● Other than the lead hook (used like the jab againstan orthodox fighter) your most important weaponswill be rear hooks, crosses, rear uppercuts, rear shovelhooks and lead uppercuts.

● When two southpaws face, the standard rules applyand the jab again becomes the primary weapon.

Work these drills to prepare for the unmatched lead (see next two pages):

● Step outside, rear hook body, lead hook head ● Cross head, lead hook head ● Cross head, lead hook body

Ring generalship

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Unmatc hed leadcombo one —Stepping outside,fire a rear hook tothe body and alead hook to thehead.

Unmatc hed leadcombo two —Cross to the headand a lead hookto the head.

1

1 2

3 4

2

3 4

Chapter 23

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Unmatc hed leadcombo three —Cross to the headfollowed by a leadhook to the body.

1 2

3 4

Ring generalship

218

Boxing the speed demon● Don’t let an opponent’s seemingly overwhelmingspeed daunt you.The speed demon is as overrated asthe fighter who hunts only for the knockout opportu-nity.

● Timing beats speed. Directed attack beats the furiousflurry.Timing and directed attack are learned by longhours in the gym and will serve you well against this orany other opponent.

Patience may be valuablein the face of a flurry.

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ResourcesFor questions about thismaterial or for moretraining information andfrequent updates to thisbook, please go to myWeb site www.extreme-selfprotection.com.

Books As mentioned in the intro-duction, there are fewcontemporary boxingtexts (real boxing, not fit-ness boxing) on themarket. In the past, therewere many.Today, we arelimited to the following:

Boxer’s Start-Up:A Beginner’s Guide to Boxingby Doug Werner

Fighting Fit: BoxingWorkouts, Techniquesand Sparringby Doug Werner and Alan Lachica

No Holds Barred Fighting:Savage Strikesby Mark Hatmaker

This is directed at the NHBfighter, but the introduc-tory chapters containmuch information perti-nent to boxing.

Equipment

Everlast 718-993-0100

Ringside 1-877-4-BOXING www.ringside.com

Video instruction

Paladin Press www.paladin-press.com See Extreme Boxing andExtreme Boxing ChainDrillsby Mark Hatmaker

Threat Response Solutions www.trsdirect.com See Illegal Boxingby Mark Hatmaker

Index

Beat punching 125-126

Caught on the ropes 187-192Clinching 199-202Combinations 105-123

Linking combinations 123Cornering 185Cutting off the r ing 182-183

Defense mechanics 129-144High cross defenses 134-136High jab defenses 130-133High lead hook defenses 136-138High rear hook defenses 139Low cross defenses 143Low hook defenses 144Low jab defenses 142Uppercut/shovel hook defenses 140-141

Defensive concepts 127-128Drawing 157-170, 171-173

Feinting 147-156Fist rolling, making a fist 35-37Footwork 23-30

Pivot 28Step and drag 25-27

Guards 15-22Classic guard 16-17Cross guard 22Crouch 19Jeffries crouch 20Peekaboo guard 18Philly crouch 21

Hinge principle 39-42

Infighting 193-198Isolation sparring 145-146

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221

Jab drills 83-104Jack Dempsey’s cage drill 80

Knockouts 75-81KOs 75-81

Pivoting 28, 171Power punching 75-81Pressuring the ropes 183-184Punches 43-73

Bolo 72-73Corkscrew straight 64-65High cross 48-49High jab 46-47High lead hook 50-51High lead uppercut 56-58High rear hook 52-53High rear uppercut 60-62Kangaroo hook 70-71Lead shovel hook 66-67Low jab 47Low lead hook 54-55Low lead uppercut 59Low rear hook 55Rear low uppercut 63Rear shovel hook 68-69

Ring generalship 203-218Boxing the charger and infighter 211-212Boxing the jab ar tist 213Boxing the slugger 214Boxing the speed demon 218Boxing the tall opponent 209-210Boxing the unmatched lead 215-217

Shelling up 197-198Shifting 177-179Shuffling 181-185Stances 15-22

Touch sparring 146

Training 11-13

Upper body mobility 31-34Bobbing and weaving 32, 33, 34Long rhythm 32, 33Short rhythm 32, 33

Waltzing 171, 174-176

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No Holds Barred Fighting:Savage StrikesThe Complete Guide to Real WorldStriking for NHB Competition and Street DefenseMark Hatmaker1-884654-20-7 / $12.95Punches, kicks, forearm shots, headbutts and more. 850 photos.

More No Holds Barred Fighting:Killer SubmissionsMark Hatmaker1-884654-18-5 / $12.95More takedowns, rides and submissionsfrom the authors of No Holds BarredFighting. 650 photos.

No Holds Barred Fighting The Ultimate Guide to Submission WrestlingMark Hatmaker 1-884654-17-7 / $12.95The combat art of The Ultimate FightingChampionships. 695 photos.

More titles by Mark Hatmaker www.extremeselfprotection.com

Also available at all major bookstores

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Mark Hatmaker is the author of No HoldsBarred Fighting, More No Holds Barred Fighting:Killer Submissions and No Holds Barred Fighting:

Savage Strikes. He also has producedover 20 instructional videos. Hisresume includes extensive experi-ence in the combat arts includingboxing, wrestling, Jiujitsu and MuayThai. He is a highly regarded coachof professional and amateur fighters,law enforcement officials and secu-rity personnel. Hatmaker is founderof Extreme Self Protection (ESP), aresearch body that compiles, analyzes

and teaches the most effective western combatmethods known. ESP holds numerous seminarsthroughout the country each year, including the pres-tigious Karate College/Martial Arts Universities inRadford,Virginia. He lives in Knoxville,Tennessee.

More books and videos by Mark Hatmaker www.extremeselfprotection.com

Books are also available at all major bookstores